"The Regret" HVX/M2/Zeiss Lenses

Hey Nathan. Looks really nice! Any chance of an HD-Sized version? 720p? I ask because I would like to see just how sharp the lenses are.

I love how everything looks, just like the sharpness of Shell. Contrast is awesome. Do you think that the dolly shots were a bit intrusive at all, after viewing it yourself?
 
Kholi,

Thanks for taking a look. Even though the film could be set anywhere from 50s to today, I was trying to bring a fairy tale feel to it. Part of that was locations and costume but I also tried with the camera movement to give a relatively small interaction between two people the feeling of weight and "grandeur" found in a fairy tale. As if their every move has a tragic importance. Because for me, it does, as this film has its roots in events from my own life, which I also continue to regret. I'm not sure what Nathan feels about the camera moves in the finished film, but I was certainly pleased with his execution of them as he was more often than not dollying and pulling focus himself.

Best,

Michael
 
The locations, costumes, everything looks and feels great. Not saying that it was a wrong choice at all, always me to ask questions to find out motivation/direction, that's all.

Thanks for taking the time to respond. Again, excellent work.
 
Nathan and Michael, the performances, the image and lighting is great. I would also like to see a 720p version, or some full resolution frames, preferable not re-compressed.

Did you crank the camera or were some of the performances performed slowly? It looks good.

What next, festivals or other?

:beer:
 
WOW great job.

The crisp images and the contrast are amazing - just the visual.

Very dramatic without saying a word.

Congratulation


PS: I am curious like the others how did you get it that crisp ?
 
Interelectronix,

Thank you for the encouraging response. Short answer about crispness: Zeiss. Longer answer: Zeiss, somewhat boosted detail settings in camera (+3), no filtration, defined edges with back lighting, and Nate's encoding skills.

Best,

Michael
 
Christopher Barry,

Nice observation about the slow mo. There were a few shots overcranked to 30fps but the actors were also moving very deliberately. "Barry Lyndon" is my favorite movie...

Best,

Michael
 
I directed six shorts in B&W before this, two of which were posted here, "To A Flame," and "Shell." I love B&W...but it would have been difficult to justify shooting it during the fall in Vermont. Glad to hear the color is appreciated.

Best,

Michael
 
Its a shame hollywood doesn't have more stuff like this...

It looked wonderful! Was the vignette done in post, and one what program? I noticed it especially when the man came out of the brick building. It added an incredible amount to the look of the film, enhancing the 'fairy tale' effect you were going for. I especially like the move with the candles and the lighting by the furnace. Are there any set shots to see how the lighting was done there?

Superb! Makes me wonder what the hell I'm doing sitting in this room when I could be out there trying to be as skilled.
 
SeanEmer said:
Are there any set shots to see how the lighting was done there?
Click to expand...
I was going to ask the same thing....

BEAUTIFUL short! :thumbup: I'm totally inspired now... I can only wish that my shots looked half as good as yours. Love the lighting, love the moves, love the production design, LOVE IT! Great work!
 
SeanEmer and dosborn,

Thank you for taking a look and for the comments. I used the 55mm plug-ins to add grad effects in a couple of places including the shot of him leaving the factory. No great pics from set on this one. I have a ton from "Shell" but there was very little lighting in that film. I can tell you, though. In the shots of him by the forge in the factory, the flame effect on his face is a 1K off of a trembled gold bounce, a 4 foot daylight balanced kino is filling in the side of his face closest to camera and spilling onto the forge itself. There's a 200 watt hmi theoretically doing something on him from his left but that was more for a rim light on the close-up of his hands and the tongs. And there's a 2K bringing up the background wall of the factory a bit. The dolly in on the girl sitting in the pews past the candles was done I believe with two lights. A four foot kino with some 1/2 CTO on it from her left and a 200w HMI with some plus green doing the rim on her and hitting the table. If Nathan reads this he'll catch anything I might have missed, but that's my recollection of those two shots.

Best,

Michael
 
Thanks very much for the descriptions! Lighting is my passion, so to speak, so I love getting hints and tips from like-minded people.

Can't wait for next film ;)
 
this looked great!

cinematography and lighting along with the movements made it feel cinematic.

overall direction was great as well. costumes and all of that stuff fit perfect with the locations.

i didn't follow the story so much though. i found myself admiring the look of the film more than the concept.
 
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